|Ibibio Sound Machine — Got to Move, Got to Get Out! (Ana Nkpong ana Nwuoro)|
Ibibio Sound Machine — Got to Move, Got to Get Out!
•» (Ana Nkpong ana Nwuoro)
•» Psychedelic jazz wigouts rife with bongo breakdowns.
Fronted by London–born Nigerian singer Eno Williams, Ibibio Sound Machine is a clash of African and electronic elements inspired in equal measure by the golden era of West–African funk & disco and modern post-punk & electro.
Formed: 2013 in London, England
Location: London, England
Album release: 17th March, 2014
Record Label: Soundway Records
01 : Voice Of The Bird (Uyio Inuen) 1:15
02 : I'm Running (Nya Fehe) 3:08
03 : The Talking Fish (Asem Usem Iyak) 5:58
04 : Let's Dance (Yak Inek Unek) 3:48
05 : The Tortoise (Nsaha Edem Ikit) 4:07
06 : Uwa the Peacock (Eki Ko Inuen Uwa) 3:33
07 : Woman of Substance (Awuwan Itiaba) 5:25
08 : Prodigal Son (Ayen Ake Feheke) 4:41
09 : Got to Move, Got to Get Out! (Ana Nkpong ana Nwuoro) 4:32
10 : Ibibio Spiritual 1:35
℗ 2014 Soundway Records Ltd
•» Eno Williams (vocals)
•» Alfred Bannerman (guitar)
•» Anselmo Netto (percussion)
•» Leon Brichard (bass/synth)
•» Benji Bouton (drums/keyboards)
•» Max Grunhard (alto sax)
•» Tony Hayden (trombone/synth)
•» Scott Baylis (trumpet)
•» Ben Hadwen (baritone sax)
•» Ibibio Sound Machine are set to release their debut LP through Soundway Records. Fronted by British / Nigerian vocalist Eno Williams, they combine elements of West African highlife, disco, post–punk & psychedelic electro soul. Preceded by the pulsating first single 'Let's Dance', ‘Ibibio Sound Machine’ will be released 17th March.
•» Folk stories, recounted to Eno by her family as a child in her mother's South–Eastern Nigerian Ibibio language form the creative lyrical fabric of the album. A large dose of electronic elements and an approach as influenced by London as much as by West Africa, give the vocals and guitar lines space to breath without being overwhelmed.
•» From the banging sub–bass of 'Lets Dance' to the spiritual, gospel–tinged notes of the album's opening track 'Voice of the Bird', the band have turned in a dynamic and, at times, beautiful take on modern afro–soul music.
•» The 8–piece live band made their official live debut at this year's Transmusicales in France and will be a name to look out for in 2014.
•» Fronted by British / Nigerian vocalist Eno Williams, London based Ibibio Sound Machine combine elements of West African highlife, disco, post–punk & psychedelic electro soul. Folk stories, recounted to Eno by her family as a child in her mother's South–Eastern Nigerian Ibibio language form the creative lyrical fabric of their debut album that is due for release on Soundway Records late February 2014.
•» A unique sound born out of the mixed up nature of London today, Ibibio Sound Machine was started by producers Max Grunhard, Leon Brichard and Benji Bouton along with singer Eno. After first tracking all the bass and drum tracks they joined up with Ghanaian guitar legend Alfred 'Kari' Bannerman (who like Max Grunhard is from fellow Soundway signing Konkoma), before adding Brazilian Anselmo Netto on percussion and synth/horn men Tony Hayden & Scott Baylis to Eno Williams' lyrics.
•» A dose of electronica with a forward–looking, refreshingly un–retro approach that's influenced by London as much as by West Africa, give the vocals and guitar lines space to breath without being overwhelmed. From the banging sub–bass of 'Lets Dance' to the spiritual, gospel–tinged notes of the album's opening track 'Voice of the Bird', the band have turned in a dynamic and, at times, beautiful take on modern afro-soul music.
•» A force of nature on stage, the 8-piece live band made their official live debut at this year's Transmusicales in France.
•» Though its inspirations are from an earlier time, Ibibio Sound Machine's approach is distinctly modern; the band's music holds equal appeal on–stage and on record. The band's first single, "Let's Dance," was issued by Soundway in January of 2014, and became a dancefloor smash in London clubs. It was followed by a self–titled album in March.
Booking (France): firstname.lastname@example.org
Booking (Europe/UK): email@example.com
•» 04/04/14 Ibibio Sound Machine @ Le Bataclan Paris, France
•» 05/04/14 Ibibio Sound Machine @ Radiomeuh Festival La Clusaz, France
•» 11/04/14 Ibibio Sound Machine @ The Forge London
•» 17/05/14 Ibibio Sound Machine @ Brighton Dome Corn Exchange Brighton
•» The self–titled debut by Ibibo Sound Machine is quite literally unlike any other African–electronic music fusion project. The group is fronted by Eno Williams, a London–born singer of southeastern Nigerian (Ibibo) descent. DJs and producers Max Grunhard, Leon Brichard, and Benji Bouton heard Williams and built a band around her. They created a slew of grooves for that voice based on the West African highlife, funk, and disco they all loved, then enlisted Ghanian guitarist Alfred "Kari" Bannerman of Konkoma, Tony Hayden and Scott Bayliss on synths and horns, and Brazilian master percussionist Anselmo Netto to illustrate the rhythms and vocals. Williams' voice possesses a timeless quality. When she's singing a tune with folk roots, such as opener "Voice of the Bird (Uyio Inuen)," it sounds like it comes from the ether of the historic past. It can have a gritty quality as well, as evidenced by the careening bubbler "Let's Dance (Yak Inek Unek)." The fat horns and sub–basement bassline are triple–timed by a criss–crossing array of rhythms. "The Tortoise (Nsaha Idem Ikit)" is a dark, funky groover with squelchy synths, breaks, and popping handrums on top of a rubbery bassline and Afrobeat horns. Distorted mbiras and bright guitars fuel the bright soulful horn lines on "I'm Running (Nya Fehe)." Williams' open–throated vocal evokes the historical past above Bannerman's punchy single–line fills. There's great humor here, too, as African disco reigns supreme in "Talking Fish (Asem Usem Iyak)," as primitive drum machines, cheesy analog synths, and J.B.'s–styled horns throw down the funk to a folk tale! (Williams' lyrics are all based on stories and tales from her grandmother's village.) "Woman of Substance (Awuwan Itiaba)," is loops, frenetic, winding bass, and snaky guitar and flute lines as the singer delivers the words in an earthy, soulful, near-moaning voice. The only track not saturated in rhythm is the brief, haunting closer "Ibibo Spiritual" with Williams' multi-tracked voice creating its own polyphonic call–and–response. Ibibo Sound Machine is an auspicious debut. The producers molded their rhythms around that beautiful voice with taste, creativity, and integrity, and the band plays the hell out of it all.
The Guardian, Thursday 13 March 2014 22.22 GMT; Score: ****
•» This is an eight–piece band that veers intriguingly between the contemporary and echoes of the 70s and 80s
•» The Soundway label has specialised in reviving great but rare vintage tracks from West Africa that had previously only been released on vinyl, but it is now also becoming known for adventurous new music. Ibibio Sound System are a British–based band who specialise in updating African highlife, Afro–beat and gospel styles, which are mixed in with electronics and echoes of African psychedelia. Led by British/Nigerian singer Eno Williams, whose songs are based around folk stories from southeast Nigeria, this is an eight-piece band that veers intriguingly between the contemporary and echoes of the 70s and 80s. The album starts and ends with drifting gospel songs (including a reworking of Amazing Grace) treated with shimmering electronic effects. •» Elsewhere, on I'm Running or Let's Dance, they mix bubbling percussion and slinky bass lines with tight brass punctuation and wailing electronics. I suspect they will sound even better live. Fortaken: http://www.theguardian.com/
Kate Hutchinson; Score: 6/10
•» Ibibio Sound Machine may look like the new Peaches from the electroclash–saluting image of singer Eno Williams on their debut album cover, but they're actually a producer collective. Trading in full-fat funk, they make uplifting West African beats and Afro–soul jams. Along with Williams's intriguing folk stories sung in her mother's native Nigerian Ibibio, these flavours infuse one endless, loosely psychedelic jazz noodle of a debut album. In places, the mélange just about works: ‘Let’s Dance’ sounds as if Grace Jones and James Murphy are playing Ghanaian highlife music for their lives. In others, it's lost in incessant bongo breakdowns and overblown brass. Best enjoyed off your face at a festival and forgotten about the next day. (http://www.nme.com/)
|Ibibio Sound Machine — Got to Move, Got to Get Out! (Ana Nkpong ana Nwuoro)|